Sebastian 2024 - Movies (Oct 2nd)
Hounds of War 2024 - Movies (Oct 2nd)
The Day the Earth Blew Up A Looney Tunes Movie 2024 - Movies (Feb 19th)
The Forgotten Coast 2024 - Movies (Feb 19th)
Controlling My Husband 2024 - Movies (Feb 19th)
Rosebud Baker The Mother Lode 2025 - Movies (Feb 18th)
We Beat the Dream Team 2025 - Movies (Feb 18th)
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Bangers and Cash - (Feb 20th)
Tribunal Justice - (Feb 20th)
Gangland Chronicles - (Oct 1st)
Ruby Wax- Cast Away - (Oct 1st)
Deadliest Catch - (Oct 2nd)
Murder in a Small Town - (Oct 2nd)
Slow Horses - (Oct 2nd)
Bad Monkey - (Oct 2nd)
Midnight Family - (Oct 2nd)
Wheres Wanda - (Oct 2nd)
Tell Me Lies - (Oct 2nd)
Seoul Busters - (Oct 2nd)
American Sports Story - (Oct 2nd)
The Bay - (Oct 2nd)
The Kelly Clarkson Show - (Oct 2nd)
Reacher - (Feb 20th)
Zero Day - (Feb 20th)
INVINCIBLE - (Feb 20th)
Harley Quinn - (Feb 20th)
Hollywood Squares - (Feb 20th)
When I think of interesting filmmakers, the world over, whose movies are always a pleasure to watch, I thank God every day for Agnès Varda. I had her '4 Films by' Criterion boxed set, seemingly forever, left unwatched, and I don't really know why. Perhaps I felt her films wouldn't excite me enough, I don't know. I certainly enjoy foreign, and French, filmmaking enough. Maybe it was because she was female, I don't know. I hope not, but I'm simply being honest. Sometimes I'm apprehensive about starting to investigate the works of a director who's different from me: Female, non-English, non-Caucasian. I think it's difficult for me to start, because I'm afraid that I won't be able to fully emphasize with their sphere of reference, and thus won't be able to either appreciate or enjoy the filmic experience as much as I should. Once I start, and watch that first film I see of theirs, I'm fine. But until that point, it's truly a challenge. My university library had her two recent critically-acclaimed films, 'The Gleaners and I' and its sequel, on one DVD, and one of my favourite critics, Roger Ebert, had made a 'Great Movie' article about the original. So I gave that series a viewing, each film a separate night, and I fell in love with her as a person, and found that her films were not going to be a challenge for me at all. Thus I then turned to my previously-imposing, aforementioned boxed set, and went through it chronologically. This, the second film of the set, was extraordinary, basically a real-time cinematic exercise of a lady who is waiting for the results of a biopsy, and thus wondering if her quality of life is going to be seriously challenged or not. In it, as I've found in all of her films so far, there's an extraordinary visual flair, a great and natural storytelling facility present, and you can really tell that Varda both loves people and is glad to be alive, and it shows in everything she does. If you are in a similar boat, and are reluctant to investigate Varda's works, please do yourself a favour and don't hesitate any longer. Appreciate this extraordinary woman and her work while she is still alive. You will never be the same.
It's actually quite hard to write an objective review about this film. Why? Well, that is because the eponymous singer (Corinne Marchand) has a personality that offers us very little to like. She is a hypochondriac who is obsessed with the thought that she might have cancer. Desperate for a second opinion, she consults a mystic and then we follow her for the remainder of her afternoon whilst she awaits the results of medical tests. In many ways it adopts a video diary sort of format and that means there is plenty herein that isn't the least interesting. Like with most of our daily routines, there is not that much of interest going on. She meets her lover, José (José Luis de Vilallonga) an unsympathetic man well used to her behaviour and a soldier "Antoine" (Antoine Bourseiller) who is enthralled by her, but who is also facing deployment in the soon to be independent Algeria. I liked the style of the photography. It has an intimacy to it. The score from Michel Legrand (who also features playing piano) also adds a richness to this, but for the most part this is quite a curiously dry observational effort from Agnès Varda. If you can see it on a big screen then do try - on a smaller one it can struggle to retain the attention a little.
The prodigal son of a family in turmoil returns home to his French rural home to reconnect with his family and make sense of their dysfunctions.
Sabine and Natacha are 22. They live ‘here’, in the sticks, next door to each other. One day, Natacha has an opportunity: leave ‘here’ to go ‘over there’, thus abandoning Sabine. This act of treason will prove fatal.
A Jury of Her Peers is a 1980 short film directed by Sally Heckel, adapted from the story by Susan Glaspell. A farm woman is accused of murdering her husband in early 1900's Midwest America. The film was nominated for an Oscar for Best Live Action Short Film.
Couples and Robbers is a 1981 English language comedy/crime film written and directed by Clare Peploe, starring Frances Low, Rik Mayall and Peter Eyre. Two couples - one with all the riches that dreams are made of, the other with only dreams and schemes - are brought together by the plotting of the poorer couple. A pair of newlyweds wander through the city streets, bickering about their poverty, until they are distracted by the opulent home of a lawyer. Impulsively, the couple makes off with the lawyer's vehicle for one night of extravagant indulgence. The film was nominated for an Oscar for Best Live Action Short Film.
A visual album. A story of falling apart and putting yourself back together again as the world does the same. It is a story about personal death and rebirth, mental health, dealing with the tragedies of the world, queer love and finding community while featuring two of the most important places to the artist, MALINDA- Brooklyn and the west coast of Ireland.
Rémy and Mélanie live next door to each other in Paris but have never met. The two thirty-year-old Parisians search for connections online, but never have much success. Falling deeper into loneliness and depression, both decide to start attending regular therapy. With the help of their therapists, they uncover the real roots of their issues, and find that the connection they were both searching for is much closer than they thought.
Olivia, an undocumented Filipina immigrant paranoid about deportation, works as a caregiver to a Russian-Jewish grandmother in New York. When the man she’s secretly paying for a green card marriage backs out, she becomes involved with a slaughterhouse worker who is unaware that she’s a trans woman.
In a former mining town in North Ossetia, a young woman struggles to escape the stifling hold of the family she loves as much as she rejects.
Nina, Ailén and Fernando are an actress, a producer and a director who want to shoot and independent feature film in Argentina.
A young couple, Kaia and Andrew, are renovating Kaia's secluded family estate. Their lives are violently disrupted upon the unexpected arrival of Kaia's sister, Christine, and her fiancé, Ira.
Estranged from her family, Franny returns home when an accident leaves her brother comatose. Retracing his life as an aspiring musician, she tracks down his favorite musician, James Forester. Against the backdrop of Brooklyn’s music scene, Franny and James develop an unexpected relationship and face the realities of their lives.